Research Catalogue

Illustration as research from within the field is of relatively new practice. The illustrators discourse on representation (Yannicopoulou & Alaca 2018 ), theory (Doyle, Grove and Sherman 2018, Male 2019, Gannon and Fauchon 2021), and critical writing on illustration practice was hardly found before The Journal of Illustration was first issued in 2014, followed by artistic research through illustration (Black, 2014; Rysjedal, 2019; Spicer, 2019). This research project developed as response to a rise in hate crime towards refugees and the targeting of European Jews in recent decade. A pilot project (This Is a Human Being 2016-2019) treated how narratives of the Holocaust may avoid contributing to overwriting of history or cultural appropriation. Asking how illustration in an expanded approach may communicate profound human issues typically considered unrepresentable, this new project hopes to explore representation and the narratives of “us” and “the others” in the contemporary world through illustration as starting-point for cross-disciplinary projects. The participants from different disciplines, have interacted democratically on common humanist themes to explore the transformative role of illustration in contemporary communication. our projects should afford contemplation of illustration as an enhanced, decelerated way of looking; and drawing as a process for understanding - a way of engaging in understanding the other, as much as expressing one’s own needs (McCartney, 2016). This AR project consisted of three symposia and three work packages, and the artistic research unfolded in the symbiosis of these elements. Our investigation of illustration across media and materials continues as dissemination and exhibitions even after the conclusion of the work packages in 2024.

A visual, emotional & conceptual archive of Performative Reharsals and Performative installations that anticipated the LGP Method's integrative logic by Transdisciplinary artist. This archive links 2019-2025 anti autobiographic artistic process trough creative collaborations. This article presents a series of digital collages created through the daily reworking of personal archives—photos, performance records, and installations. These images are not final works but a catalogue of affective documents in motion. They explore the blurred boundaries between memory, artwork, and archive. This visual practice is part of the ongoing evolution of the LGP Method, showing how transformation and process are central to its structure. After the method's formalization, a new identity—New Art—emerged, emphasizing mobility, reinvention, and the spiritual-emotional dimension of creative work. This archive also acknowledges the valuable collaborations with artists, performers, and institutions who engaged with different stages of the process, activating the method from multiple perspectives.

In this work, I want to show some excerpts from my grandmother's patriarchal resistance. The narrative and the photographs will be at the center. They will clarify Esters Lindberg's attempt to negotiate and renegotiate her position within the usual norm. The narratives and photographs will hopefully give an expanded understanding of what it could be like to live as a woman with a desire for freedom in Sweden during the early 20th century.

Esta pesquisa propõe uma instalação com foco em aprofundar uma experiência sensorial, para despertar a sensibilidade das pessoas, em São Bernardo/MA, no Balneário Rio Buriti. São abordados elementos da escuta sensível e consciente, como forma de valorização dos sons naturais e culturais do local. Para a execução da prática, realizamos algumas etapas, como: determinar local, dia e o horário da atividade; elaboração de um mapa mental contendo todas as ideias; retomada da leitura do mapa mental com novas impressões individuais, pessoais, subjetivas, objetivas; decidir sobre a ação em si. Nos desdobramentos desta ação, que envolve escutar, sentir e criar, observamos que a paisagem sonora, termo criado por Schafer (2009), possui todos os componentes para a criação e sensibilização das pessoas em relação aos seus próprios territórios. O autor demonstra sua preocupação com a qualidade da escuta, que está cada vez mais ameaçada pelo problema da poluição sonora, por isso a necessidade de que a população tenha consciência dos sons que nos rodeiam.

"Grain: Mediator Between East and West" is an image-led, cross-temporal exploration of bread wheat as both a commodity and a metaphor. Drawing on its historical and practical ubiquity as a staple grain in agrarian (Eastern) Europe, wheat emerges as the focal medium through which cultural and geopolitical narratives are revealed. What narratives does bread wheat carry, and what is entangled within localised perspectives? To what extent does the cultural history of grain intersect with modern grain infrastructures, whereby wheat transforms from an elemental medium into a mediator between East and West? Through thinking with and about grain, this work interrogates the gaps, overlaps and resonances between East and West, the post-war Soviet 1940s and the present day, repositioning wheat as a cultural mediator. This Master's project was conducted within the European Media Studies program at the University of Potsdam and University of Applied Sciences Potsdam, August 2025.

”Vi använder ord för att nå varandra och för att förstå oss själva och världen. Orden är alltid kroppsligt förankrade och sammanbundna med tanken och viljan”, förklarade gumman. ”Men vad har det med mitt gestaltande att göra?” suckade skådespelaren. ”Allt”, svarade gumman och log. ”När människokunskap länkas till skådespelarkonsten blir den både konkret och magisk. Du förstår, kroppsliga kunskaper om språkhantering är mycket viktiga att ha med sig i det gestaltande ögonblicket. Det räcker inte att analysera den dramatiska texten eller att göra medvetna val. Det finns något i oss som är större, något som vi ska vara rädda om.” ”Vad ska jag vara rädd om?” ”Du ska vara rädd om dig själv. Om ditt konstnärskap. Om din röst”, svarade gumman utan att tveka. Vad är det som sker i övergången från skriftlig till muntlig gestaltning? Orden som i det vardagliga samtalet flödar fram i förbindelse med avsikten och känslan, förlorar under högläsning både sin självklarhet och spänst. Istället för att finna övningar som skyler över det som går förlorat, tycks det mig mer intressant och verksamt att försöka förstå vad som sker. Och hur det kroppsligt intuitiva skulle kunna tas tillvara. Min forskning har utmynnat i en saga. Sagan om skådespelaren som återfann sin röst. Om konsten att gestalta med röst och tal.